Zeljko Cipris is a professor of Modern Languages and Literature at the University of the Pacific.
In this rich collection, distinguished expert of fairy tales Jack Zipes continues his lifelong exploration of the story-telling tradition with a focus on the Golden Age. Included are one hundred eighty-two tales--many available in English for the first time--grouped into eighteen tale types. Zipes provides an engaging general Introduction that discusses the folk and fairy tale tradition, the impact of the Brothers Grimm, and the significance of categorizing tales into various types.
Short introductions to each tale type that discuss its history, characteristics, and variants provide readers with important background information.
Also included are annotations, short biographies of folklorists of the period, and a substantial bibliography.
Eighteen original art works by students of the art department of Anglia Ruskin University not only illustrate the eighteen tale types, but also provide delightful—and sometimes astonishing—21st-century artistic interpretations of them.
Where do they get the money? Coming up redheaded curates from the county Leitrim, rinsing empties and old man in the cellar. Then, lo and behold, they blossom out as Adam Findlaters or Dan Tallons. Then thin of the competition. General thirst. Good puzzle would be cross Dublin without passing a pub. Save it they can't. Off the drunks perhaps. Put down three and carry five. What is that, a bob here and there, dribs and drabs. On the wholesale orders perhaps. Doing a double shuffle with the town travellers. Square it you with the boss and we'll split the job, see?
How much would that tot to off the porter in the month? Say ten barrels of stuff. Say he got ten per cent off. O more. Fifteen. He passed Saint Joseph's National school. Brats' clamour. Windows open. Fresh air helps memory. Or a lilt. Ahbeesee defeegee kelomen opeecue rustyouvee doubleyou. Boys are they? Yes. Inishturk. Inishark. Inishboffin. At their joggerfry. Mine. Slieve Bloom.
He halted before Dlugacz's window, staring at the hanks of sausages, polonies, black and white. Fifteen multiplied by. The figures whitened in his mind, unsolved: displeased, he let them fade. The shiny links, packed with forcemeat, fed his gaze and he breathed in tranquilly the lukewarm breath of cooked spicy pigs' blood.
A kidney oozed bloodgouts on the willowpatterned dish: the last. He stood by the nextdoor girl at the counter. Would she buy it too, calling the items from a slip in her hand? Chapped: washingsoda. And a pound and a half of Denny's sausages. His eyes rested on her vigorous hips. Woods his name is. Wonder what he does. Wife is oldish. New blood. No followers allowed. Strong pair of arms. Whacking a carpet on the clothesline. She does whack it, by George. The way her crooked skirt swings at each whack.
The ferreteyed porkbutcher folded the sausages he had snipped off with blotchy fingers, sausagepink. Sound meat there: like a stallfed heifer.
He took a page up from the pile of cut sheets: the model farm at Kinnereth on the lakeshore of Tiberias. Can become ideal winter sanatorium. Moses Montefiore. I thought he was. Farmhouse, wall round it, blurred cattle cropping. He held the page from him: interesting: read it nearer, the title, the blurred cropping cattle, the page rustling. A young white heifer. Those mornings in the cattlemarket, the beasts lowing in their pens, branded sheep, flop and fall of dung, the breeders in hobnailed boots trudging through the litter, slapping a palm on a ripemeated hindquarter, there's a prime one, unpeeled switches in their hands. He held the page aslant patiently, bending his senses and his will, his soft subject gaze at rest. The crooked skirt swinging, whack by whack by whack.
The porkbutcher snapped two sheets from the pile, wrapped up her prime sausages and made a red grimace.